The Clown
»Ich bin ein Clown, im Augenblick besser als mein Ruf.« Hans Schnier, einst ein gefragter Pantomime und Spaßmacher, sitzt, nachdem ihn seine Frau verlassen hat, zum Bettler degradiert auf den Stufen des Bonner Bahnhofs.
»Ich bin ein Clown, im Augenblick besser als mein Ruf.« Hans Schnier, einst ein gefragter Pantomime und Spaßmacher, sitzt, nachdem ihn seine Frau verlassen hat, zum Bettler degradiert auf den Stufen des Bonner Bahnhofs.
Emil Sinclair ist ein Junge, der in einem als "Scheinwelt" beschrieben bürgerlichen Elternhaus aufgewachsen ist. Dies ist die dramatische Geschichte seiner Abstieg - gesteuert durch sein frühreifen Schulkamerad Max Demian - in eine geheime und gefährliche Welt der Kleinkriminalität und Revolte gegen Konvention und seiner Erwachen zu Selbstheit.
Thomas Mann's last great novel, first published in 1947 and now rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul - and the ability to love his fellow man.
Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and its nihilism. It is also Mann's most profound meditation on the German genius - both national and individual - and the terrible responsibilities of the truly great artist.
A classic of modern literature: Buddenbrooks is the story of four generations of a wealthy bourgeois family in northern Germany facing the advent of modernity; in an uncertain new world, the family’s bonds and traditions begin to disintegrate. With an introduction by T. J. Reed, and translated by John E. Woods.
As Mann charts the Buddenbrooks’ decline from prosperity to bankruptcy, from moral and psychic soundness to sickly piety, artistic decadence, and madness, he ushers the reader into a world of stunning vitality, pieced together from births and funerals, weddings and divorces, recipes, gossip, and earthy humor.
First published in Germany in 1901, when Mann was only twenty-six, Buddenbrooks surpasses all other modern family chronicles in its immensity of scope, richness of detail, and fullness of humanity. With remarkable fidelity to the original German text, this superb translation emphasizes the magnificent scale of Mann’s achievement in this riveting, tragic novel.
"Auto-da-Fé" is the story of Peter Kien, a distinguished, reclusive sinologist living in Vienna between the wars. With masterly precision, Canetti reveals Kien's character, displaying the flawed personal relationships which ultimately lead to his destruction.
Manipulated by his illiterate and grasping housekeeper, Therese, who has tricked him into marriage, and Benedikt Pfaff, a brutish concierge, Kien is forced out of his apartment - which houses his great library and one true passion - and into the underworld of the city. In this purgatory he is guided by a chess-playing dwarf of evil propensities, until he is eventually restored to his home. But on his return he is visited by his brother, an eminent psychiatrist who, by an error of diagnosis, precipitates the final crisis...
"Auto-da-Fé" was first published in Germany in 1935 as "Die Blendung" ("The Blinding" or "Bedazzlement") and later in Britain in 1947, where the publisher noted Canetti as a 'writer of strongly individual genius, which may prove influential', an observation borne out when the author was awarded the Nobel Prize for Literature in 1981. "Auto-da-Fé" still towers as one of the greatest novels of the twentieth century, and Canetti's incisive vision of an insular man battling agianst the outside world is as fresh and rewarding today as when first it appeared in print.
In this dizzyingly rich novel of ideas, Mann uses a sanatorium in the Swiss Alps, a community devoted exclusively to sickness, as a microcosm for Europe, which in the years before 1914 was already exhibiting the first symptoms of its own terminal irrationality.
The Magic Mountain is a monumental work of erudition and irony, sexual tension and intellectual ferment, a book that pulses with life in the midst of death.
Narcissus and Goldmund tells the story of two medieval men whose characters are diametrically opposite: Narcissus, an ascetic monk firm in his religious commitment, and Goldmund, a romantic youth hungry for knowledge and worldly experience. First published in 1930, Hesse's novel remains a moving and pointed exploration of the conflict between the life of the spirit and the life of the flesh. It is a theme that transcends all time.
The world-famous masterpiece by Nobel laureate Thomas Mann -- here in a new translation by Michael Henry Heim.
Published on the eve of World War I, a decade after Buddenbrooks had established Thomas Mann as a literary celebrity, Death in Venice tells the story of Gustav von Aschenbach, a successful but aging writer who follows his wanderlust to Venice in search of spiritual fulfillment that instead leads to his erotic doom.
In the decaying city, besieged by an unnamed epidemic, he becomes obsessed with an exquisite Polish boy, Tadzio. "It is a story of the voluptuousness of doom," Mann wrote. "But the problem I had especially in mind was that of the artist's dignity."
Biberkopf hat geschworen, er will anständig sein, und ihr habt gesehen, wie er wochenlang anständig ist, aber das war gewissermaßen nur eine Gnadenfrist. Das Leben findet das auf die Dauer zu fein und stellt ihm hinterlistig ein Bein. Die Geschichte des Transportarbeiters Franz Biberkopf, der, aus der Strafanstalt Berlin-Tegel entlassen, als ehrlicher Mann ins Leben zurückfinden möchte, ist der erste deutsche Großstadtroman von literarischem Rang. Das Berlin der Zwanziger Jahre ist der Schauplatz des Geschehens. Dabei wird die Großstadt selbst zum Gegenspieler des gutmütig-jähzornigen Franz Biberkopf, der dieser verlockenden, aber auch unerbittlichen Welt zu trotzen versucht. Mit Berlin Alexanderplatz vollzog Döblin die radikale Abkehr vom bürgerlich psychologischen Roman. Hier wurde kein Einzelschicksal analysiert. Das kollektive Geschehen, das Allgemeine einer menschlichen Situation erfuhr hier eine gültige dichterische Gestaltung. Der Roman zählt zu den großen Epen unserer Zeit.